Eachus has produced an architectural structure that has transformed The Wasp Room, operating as an antagonism to the permanency of the designated space. It is, as the word trans in the title suggests, a transient, nomadic and flexible structure, impermanent and disruptive.

There are acknowledged references to the Merzspace of Kurt Schwitters, described by Peter Lewis in his catalogue essay for MERZ= at Kunstverein Bregenz 2006 as an object without boundaries, aleatory, accidental and sprawling a new concept of political space or platform.

Though this structure has an architectural appearance -it occupies space, has a floor, walls and a roof- it is constructed without any architectural principles and is, in a sense, a kind of anti-architecture; an art object built as a performative event rather than to a set of plans. The incomplete is manifested in the work as a space in the process of collapsing, between stability and solidity, between instability and total collapse. This space between becomes one of tension and potential, of immanence and new possibilities: the word facility itself suggesting a temporary place or situation that can be used for a specific purpose for a short period of time.

The term chaosmos was first coined by James Joyce who used it to describe a space between the ancient (as in history) and the radical (the present) suggesting a colliding space of new possibilities. Whilst in his book of notes and interviews Chaosophy (1995), Felix Guattari explores the relationship between schizophrenia and capitalism, where he observes that the power of the latter is in its ability to make rational that which is irrational.

Trans Chaosmos Facility is then an antagonistic intervention into the familiarity of the gallery space and in keeping with this concept, Eachus has invited the artist Nooshin Farhid to make a group of videos that in turn intervene into the new space.